Guide to the Classics: Samuel Beckett’s “Waiting for Godot,” a Tragicomedy for Our Times
Vladimir: Well? Shall we go? Estragon: Yes, let’s go. [They do not move.] Samuel Beckett...
Read MorePosted by Mark Byron | 5th Jul 2021 | Essay, Ireland, Playwriting
Vladimir: Well? Shall we go? Estragon: Yes, let’s go. [They do not move.] Samuel Beckett...
Read MorePosted by Amir Al-Azraki | 28th Jun 2021 | Interview, Iraq, Playwriting
Based on a recent phone interview with Al-Zaidi, the most prominent Iraqi playwright. Ali Al-Zaidi...
Read MorePosted by Mark Byron | 20th Jun 2021 | Adaptation, Essay, Ireland, Playwriting
Vladimir: Well? Shall we go? Estragon: Yes, let’s go. [They do not move.] Samuel Beckett...
Read MorePosted by David Malcolm | 15th Jun 2021 | Between.Pomiędzy 2021, Essay, Festivals, Playwriting, Poland
Tadeusz Różewicz (1921-2014) might need a few words of introduction for English-speaking readers,...
Read MorePosted by David O'Donnell | 14th May 2021 | Interview, LGBTQ+ Theatre, New Zealand, Playwriting, Theatre and Gender, Theatre for Young Audiences
The Glitter Garden by George Fowler and Lori Leigh. Directed by Lori Leigh. Circa Theatre,...
Read MorePosted by Kasia Lech | 12th Mar 2021 | Dramaturgy, Ireland, Nigeria, Playwriting, Poland, Spain, Transmedia, United Kingdom
While theatre in its early days existed in a strong relationship with verse, the social, cultural,...
Read MorePosted by Capital Critics' Circle | 23rd Feb 2021 | Canada, Playwriting
November 26, 2020 – OTTAWA (Canada) – Ntlaka’pamux playwright Tara Beagan has been named the 2020...
Read MorePosted by Irina Yakubovskaya | 11th Feb 2021 | Boston, Education, Interview, Playwriting, United States of America
Driven by his appreciation for authenticity and history, Stephen Sampson created his theatre...
Read MorePosted by Trevor Boffone | 23rd Jan 2021 | Covid-19, Interview, Playwriting, United States of America
When Rebecca Greene Udden graduated from Rice University, she decided to make Houston her...
Read MorePosted by Aleks Sierz | 15th Jan 2021 | Playwriting, United Kingdom
Ten prompts for writing about the year 2020: 1) “It started with a slight cough, a rather dry...
Read MorePosted by Walter Byongsok Chon | 1st Jan 2021 | Interview, Playwriting, South Korea
The Korean theatre company The Nanhee premiered its new production Mimaji!, written and directed...
Read MorePosted by Aleks Sierz | 31st Dec 2020 | London, Playwriting, Review, United States of America
Yesterday, I watched the streamed version of December, written and directed by Alexander Knott,...
Read MorePosted by Trevor Boffone | 12th Dec 2020 | Festivals, Playwriting, United States of America
In October 2017, a group of Latinx playwrights came together in New York City to share space,...
Read MorePosted by Ashley Steed | 25th Nov 2020 | Interview, Ireland, Playwriting
It’s been six years since Leper and Chip played to sold-out Dublin audiences with critical...
Read MorePosted by Leigh Boucher | 9th Nov 2020 | Australia, Playwriting, Review, Sydney
Review: Wonnangatta by Angus Cerini, directed by Jessica Arthur, Sydney Theatre Company Theatre is...
Read MorePosted by Heather Waters | 8th Oct 2020 | Los Angeles, Playwriting, Theatre and Politics, United States of America
Sweat, by Lynn Nottage, is a cautionary tale about how the effects of poverty, or the threat of...
Read MorePosted by Clare Cioffero | 16th Sep 2020 | Interview, New York, Playwriting, Polish Theatre Archives, United States of America
For theater, I like to give myself constraints. So for this, the constraint was that I wanted to write this for two people, partially because I love 2-person plays. There aren’t enough of them, and also, they’re so much more producible, and it’s amazing to watch two people pull something off, so I gave myself that challenge. It sort of opened up the door for me in terms of what the piece was going to be like stylistically – I wanted it to be a bunch of different genres and I wanted it to be ironic and funny and also heartfelt at the same time. That was all sort of outside-in thinking about this piece which isn’t always how it is, but helped me get into it. The more I worked on it, the more I have fallen in love with the characters and their story, but it frankly came about by thinking about the structure itself, and what I wanted to play to feel like and how I wanted it to be formed versus what it was actually going to be – form then content rather than the other way around.
Read MorePosted by Ati Metwaly | 3rd Sep 2020 | Egypt, Playwriting, Puppetry
The famous puppet and Shaker’s beloved ‘daughter’ will be part of a larger...
Read MorePosted by Jelena Gvozden | 2nd Aug 2020 | Croatia, Interview, Playwriting
We continue our conversation with Espi Tomičić, a Croatian playwright and “boy from the...
Read MorePosted by Jelena Gvozden | 31st Jul 2020 | Croatia, Interview, Playwriting
Espi Tomičić is a new playwright on the Croatian theatre scene but already garnered attention for...
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